Saturday, March 26, 2011

Form follow Mood ; Moody Couch karya Hanna Emelie Ernsting

Desainer muda Hanna Emelie Ernsting, melakukan experimen dengan bentuk yang fleksibel..filosofinya adalah ; Form Follow Moods, rancangan sofanya mengikuti emosi penggunanya. Rancangannya mengundang para user untuk mengekpresikan perasaannya. Jika ngantuk sekalian tidur di dalamnya. Atau hanya bersantai saja? Karya ini termasuk salah satu pemenang dari D3 talent award, bisa disaksikan pada IMM Cologne Furniture fair
The seating series by the designer Hanna Emelie Ernsting consists of three pieces: Moody Couch, Moody Nest and Moody Bag. Though on first sight, formally quite different, they follow the same idea: “form follows moods”. According to the designer, the origin of this concept is the observation that in the modern world, people forget how to relax and calm down. This is where the Moody series ties in: It invites the user to express feelings and “let go”. Doing so leaves traces, causing the product to resemble the moods of its user in various shapes and forms and making the products seem alive.
Designer Hanna Ernsting says: “Moody is the interpretation of the sofa as a place of expression and communication. The focus lies in the mood of the user.”
Developing the product series, the designer experimented with flexible forms and innovative materials. To give the pieces more flexibility and softer shapes, she extended the cover of the sofa up to 3 meters in length. Meanwhile she worked with various techniques, achieving structure and stability of the material, and making it shapeable and more functional. Besides methods such as quilting, stitching and wadding, she worked with new materials, such as 3D textile, still quite unknown in the furniture industry.
Moody Couch won D3 Talents Award 2. prize and will be presented at the furniture fair IMM Cologne 

Meja Karet karya Thomas Schnur

Thomas Schnur seorang perancang dari Jerman memanfaatkan karet penyedot lubang toliet yang mampet. Idenya ini menyebabkan kaki meja yang fleksible sekaligus bisa menempel pada media lantai maupun dinding. Ide unik dan brilian memang bisa didapat dari mana saja. Meja ini dipamerkan pada imm cologne di Jerman yang berlangsung mulai tanggal 18-23 Januari 2011.

Rubber Table

The drain or toilet plunger is an item, which, though it receives little attention, is actually extremely useful. Rubber Table adopts its idiosyncratic aesthetics and transfers them to a new environment. The rubber plunger has become a table leg – setting in motion a new way of looking at this ambivalent object. Manufacturing it from dyed foam rubber preserves the color and the feel of the original object.
In my projects I always attempt to negotiate with the product I am to design. I negotiate on the weighting of materials, manufacturing, appearance, meaning and function. I break down this task into its characteristics and meanings. I then analyze, assess and construct the idea.
In this, it is important to me that despite their cross-references, the products, which are often created from familiar fragments, are able to development the greatest possible degree of autonomy. In this way, they allow for associations but, beyond this, develop their own potential for becoming autonomous products.”

via dezeen


Thursday, March 24, 2011

RENNES MÉTROPOLE CREMATORIUM Vern-sur-Seiche by PLAN01


Krematorium ini memberikan kesempatan bagi kita para pengunjung untuk melakukan prosesi keheningan......berjalan dari hutan dan mengikuti alur menuju bangunan yang berbentuk lingkaran. Bentuk lingkaran ini memiliki banyak interpretasi kebudayaan, religiusitas. 



Kesederhanaan material ini merupakan jawaban, sekaligus tantangan bagi banyak musolium yang monumental. Dengan kesederhanaan, bahasa material yang lugas tempat 
ini memberikan arti dan makna yang dalam. 
Denah ini juga memberikan kebebasan akses yang tidak tunggal, tapi kita dapat mengaksesnya dari berbagai sudut seperti melawan hierarki yang umumnya pada musoleum.






Architects: PLAN 01 architects
Location: Rennes Métropole, Frace
Project team: Jean Bocabeille, Anne-Cécile Comar, Philippe Croisier, 
Christophe Ouhayoun, Stéphane Pertusier, Ignacio Prego, Dominique Vitti, 
Anne-Charlotte Zanassi, Julien Zanassi and Nicolas Ziesel
Project manager: Daniela Miccolis
Project year: 2005-2009
Site Area: 1,100 sqm
Budget: US $2,72 M
Photographs: © Luc Boegly & Stéphane Chalmeau







Gru Chapel in Guarulhos, Brazil by Yuri Vital


Chapel ini berada di daerah Suburban dekat Guarulhos International airport. 
Terdiri dari kotak yang sangat simple. 
Seluruh ruangan memanfaatkan pencahayaan alami, skin nya terbuat dari metal orang menyebutnya Cobogos
.
Seluruh chapel ini terbuat dari precast slab, 
terutama dengan bentangan antar kolom sebesar 8,4 m. 
Hal ini juga untuk mengantisipasi lahan parkir.



Source dailytonic.com


Wednesday, March 23, 2011

Holy Rosary Chapel by Trahan Architects


Perancangan komplex Holy Rosary terdiri dari oratorium, 
bangunan administrative dan bangunan sekolah religius untuk sebuah 
lembaga katholik di pingggir kota “Parish di Louisiana.  
Desain ini merupakan explorasi kejujuran material, fungsi, cahaya dan material yang menghasilkan komposisi ruang-ruang yang sacral dan pengalaman spiritual dan meditasi.

Masterplan untuk kampus di pinggir kota(rural) menciptakan karakter tempat yang kuat yang mengambarkan hubungan yang erat antara program-program yang sacral dan yang sekuler. Komponen-komponen yang sekuler ditunjukkan dengan  bangunan yang linier / memanjang atau pada ujung bangunan sebuah blok administrative, dua ruang kelas yang linier. Chapelnya berada di dekat ruang tengah / courtyard terdiri dari komposisi orthogonal. 

Dengan menggunakan poured-in-place beton / cor ditempat 
dengan kombinasi kaca, sang arsitek telah berhasil menghadirkan lingkungan yang mediativ. 
Permainan pencahayaan yang kental menghasilkan satu rancangan yang sederhana. 
Pencahayaan yang masuk melewati berbagai bentuk dan ukuran bukaan dan ketebalan dinding menghadirkan orientasi sekaligus kehadiran dari yang diatas…
hanya dengan permainan pencahayaan yang mengagumkan.














Architects: Trahan Architects, APAC
Location: Lousiana, USA
Project Architect: Victor F. “Trey” Trahan III, FAIA
Design team: Brad David, Kirk Edwards
Structural Engineer: Schrenk & Peterson Consulting Engineers
Mechanical, Electrical, Plumbing Engineer: Apex Engineering Corporation
BUILDER: Quality Design and Construction, Inc.
Project Area: 1,586 sqm
Project year: 2004
Photographer: Tim Hursley / The Arkansas Office





Tuesday, March 22, 2011

White Chapel oleh Jun Aoki


White Cahpel ini memang diperuntukkan bagi prosesi pernikahan 
atau sering disebut wedding Chapel. 
Bangunan ini berada satu komplex dengan Hyatt Regency Hotel di Osaka. 
Yang menari dari chapel ini adalah material yang digunakan berupa susunan ring 
yang digantung yang membentuk tetrahedron. 
Jika kita berada di dalam chapel ini dan memandangi keluar kaca 
dibatasi oleh kain putih yang tipis sehingga kita bisa melihat kumpulan ring 
seperti melayang dari atas ke bawah.
 
Begitu juga sebaliknya, cahaya yang masuk ke dalam Chapel 
memberikan efek temaram yang membawa ke suasana keheningan.

Arsitek: Jun Aoki
Lokasi: Grand Hyatt Regency, osaka



Convent of La Tourette karya Le Corbusier;


Site ini di pilih sendiri oleh Le Corbusier memberikan pemandangan terbaik dari bukit ini 
bagi seratus biarawan yang akan tinggal di tempat ini. 
Corbu menciptakan courtyard dengan dikelilingi massa bangunan berbentuk U, 
semuanya terbuat dari beton expose. Courtyard ini kemudian ditutup oleh sebuah Chapel. 



 Chapel Residence atau Chapel sekaligus hunian, 
tempat belajar bagi Dominican Friar. 
Tujuan utama Corbusier adalah menciptakan keheningan dan kedamaian 
bagi pengguna tempat ini. Saat ini tempat ini dijadikan tempat pertemuan dari berbagai disiplin yang mempertemukan manusia, ilmu pengetahuan, dan Filosofi.









Yang paling mengesankan adalah prosesi ramp menuju Chapel. 
Interior chapelnya sendiri memiliki karakter yang sangat kuat dengan material beton expose, 
kaca penggunaan beberapa warna dasar yang berani seperti merah, biru dan kuning 
baik pada bukaan pada jendela maupun pelubangan dari beton, itu semua menjadi hidup ketika pencahayaan alami digunakan secara maksimal yang menghasilkan suasana terang, indah dan menakjubkan.















Architect: Le Corbusier
Location:
Eveux-sur-Arbresle, near Lyon, France
Project Year:
1957-1960
Photographs:
Samuel Ludwig
References:
William J.R. Curtis, Charles Jencks





The Convent of La Tourette is Le Corbusier’s final building completed in Europe, 
and is also thought by many to be his most unique program.
 It was built to be a self-contained world for a community of silent monks, 
and to accommodate the unique and specific lifestyle of the monks,
 the monastery is made of one hundred individual cells, a communal library, a refectory, 
a rooftop cloister, a church, and classrooms.
The one request to the architect by Father Marie-Alain Couturier was that 
he “create a silent dwelling for one hundred bodies and one hundred hearts.”
More on Le Corbusier‘s Convent of La Tourette after the break.
The architecture of Le Corbusier is distinguishable for its five key elements, 
which are present in the late Modernist style of the Convent of La Tourette.
The more obvious of these in this specific project are the pilotis, 
or load-bearing columns, which line the inside walls and open the facade to long strip windows.
 The classic grass rooftops create an architectural promenade, 
relating back to the Villa Savoye, although the context of the convent is very different than of the residence.
The site was specifically chosen by Corbusier, as he was drawn to the steeply sloping bank with powerful views. Every one of the hundred cells features an outward-facing balcony, 
with communal areas underneath and the cloister running around the roof. 
The structural form of the building is reinforced concrete
with undulating glass surfaces located on three of the four exterior faces. 
Built as a Chapel, residence and place of learning for Dominican friars, the monastery groups around a central courtyard a U-shaped mass, and the court is closed off by the chapel at the end.
The intention of architect Le Corbusier was “to give the monks what men today need most: silence and peace… This Monastery does not show off; it is on the inside that it lives.” Although this was ultimately achieved, there were still reservations about the size of some of the cells, as well as the soundproofing and acoustics. Maintenance issues are still very prevalent today, with cracking concrete
defective insulation, and dangerously installed electricity.
Much of the personality of this building is found in the interior, 
with the floor-to-ceiling glazing in the public areas, like the chapter room and refectory with their commanding west-facing views over the valley, library, and church entrance. 
The uneven spacing of the vertical concrete mullions, or ondulatoires, 
and the similar divisions and uneven spacing of the horizontal components between them 
were fashioned according to the Modular system of proportions of Le Corbusier.
One of the best moments of the architectural promenade is the ramp down to the church entrance: an austere, concrete corridor with uneven yet rhythmic glazing, which leads to a stern metal wall that rotates to give access to the dark, colored glow to the rest of the church. 
The interior of the church reveals a concrete box which is given a spiritual essence through its use of natural light and strong color, 
both selectively and carefully placed. “Light cannons” are created as the five different types of openings around the church let in daylight, several of which are graciously sculpted on the exterior. 
The colors are also present in these openings, which give the church a warm and evokative glow.
As of now, the monument has housed people for around forty years, welcoming visitors, architects, architecture lovers and students from all over the world. Today it functions as a meeting place for different disciplines connected to the human sciences and philosophy.